Thursday, May 31, 2007

Six Authors In Search of a Character: Part 6, Sound, Bar Sheets and Timing

Steamboat Willie (1928) was not the first sound cartoon, but it was the first to have an impact on audiences. The relationship between the visuals and the soundtrack in that film became the dominant one in the animation business.

The Fleischer Brothers had made cartoons using Lee DeForest’s Phonofilm system as early as 1925. Their first, My Old Kentucky Home, included some synchronized sound of a character playing a trombone and speaking the line “Now let’s all follow the bouncing ball and sing along.” Later Fleischer cartoons using this sound system seem to have only a musical score added with no attempt at synchronization (Cabarga 34).

While in N.Y. to record the soundtrack for Steamboat Willie, Disney saw an Aesop’s Fable cartoon with sound. Disney wrote to his brother Roy in California, “It merely had an orchestra playing and adding some noises. The talking part does not mean a thing. It doesn’t even match. We sure have nothing to worry about from these quarters” (quoted in Bob Thomas 92). Disney was confident because he conceived of sound cartoons in a specific way; he valued the tight synchronization of picture and sound.

Disney’s shift to the production of sound cartoons was born out of desperation. Prior to the creation of Mickey Mouse, Disney had been producing silent Oswald the Lucky Rabbit cartoons for producer Charles Mintz and Universal. When it came time to renew the contract, Mintz insisted that Disney take a $450 cut in the budget of each cartoon or he would take the character and a majority of Disney’s staff away and produce the series himself. Disney couldn’t meet the price cut, so he left the meeting without a character, a distributor, and a large percentage of his staff (Maltin 34).

With his remaining staff, Disney created Mickey Mouse and started to produce cartoons without having a distributor. Two cartoons, Plane Crazy and Gallopin’ Gaucho (both 1928) were produced as silent films. The third Mickey Mouse cartoon, Steamboat Willie (1928), was conceived from the start as a film with a soundtrack (Maltin 34). Disney needed something to differentiate his cartoon series from his competition; the cartoons had to be distinctive enough to gain a distribution contract or the studio would have no income.

When starting Steamboat Willie, the Disney staff had struggled with how to achieve synchronization. Wilfred Jackson, then an assistant animator, brought in a metronome. Jackson’s mother was a music teacher. As Disney knew that sound film would be projected at 24 frames per second, they were able to work out a relationship between the metronome and film frames. This allowed them to use the metronome to plan the action of the entire cartoon in advance, before the musical score was recorded and the film was animated (Barrier, Hollywood 51).

Exposure sheets existed as an animation tool in the silent era, at least as early as 1916 (Barrier, Hollywood 28). An exposure sheet is a chart that indicates which drawings are to be photographed for each frame of film. During the silent era, the exposure sheet would be prepared after the animation was drawn (J. B. Kaufman 30). Because there was no soundtrack to worry about, the timing of the animation could be changed with little problem. With sound, in order to maintain synchronization, the exposure sheets needed to be planned in advance of animation, so that the animator would know which frames would match a musical beat or a sound effect.

Each horizontal line represents one frame of film. The vertical numbers in the colunms labeled 1 and 2 are drawings that will be photographed for that frame. From Animation by Preston Blair.

Disney developed a new tool for use with exposure sheets called bar sheets. These sheets were essentially musical manuscript paper. One musical staff would include the score and a parallel staff would include the action. Bar sheets took up less space than exposure sheets because they didn’t need space for drawing numbers, camera information, etc. Once the action was plotted on a bar sheet relative to the musical score, the information would be transferred to exposure sheets that were sent to the animators (Barrier, Hollywood 51).

As a result, Steamboat Willie was more tightly synchronized than any sound cartoon had previously been. “As Disney was well aware, he was now far ahead of any other cartoon producer in his mastery of sound” (Barrier, Hollywood 54).

This approach to timing cartoons became an industry standard. Director and musical director would collaborate on choosing tempos for each section of a cartoon. The director would plan out the cuts and action to work to the musical beat and the animator had to stick to the beat in order to maintain synchronization.

In effect, this approach to synchronizing animation and sound turned all cartoons into the equivalent of musicals. There might be no singing or dancing within a cartoon, but the pacing of the action is still dictated by the musical tempo. Animators were dominated by the musical beat in the same way as dancers. This creates a unified approach to timing, forcing all the animators on a film (and all working on a single character) to adhere to a preset pace. It prevents individual animators from using timing as a means of expression. To use a live action analogy, Walter Kerr talks about how Oliver Hardy’s sense of pace altered silent comedy.

“It was Hardy’s personal rhythm, a rhythm that has been recognized as that of a “Southern gentleman,” that determined the new pace at which both men were to work and to which silent comedy would be forced to accommodate itself. In taking over from [Stan] Laurel as go-getter, as initiator of all catastrophe, Hardy could not behave as the impetuous Laurel had behaved in the role, or as virtually all two reel runaway clowns had eagerly behaved before him. They had sprinted from square one, as though in response to a starter’s gun; there would be further gunshots along the way to make them go faster and faster. Hardy heard music instead, the soothing guidance of a steady 2/4 beat, the mellifluous promptings of a chastely tuned pianoforte” (Kerr 329).

Once the decision to pre-time cartoons to a musical soundtrack was made, it became impossible for individual animators to affect pace in the way that someone like Hardy could. The director and the musical director controlled the pace of a character’s motion, not the animator.

The reliance on the musical beat at Disney loosened by the end of World War II. At that point, dialog sequences were post-scored with music the same way that a live action film would be. By the time Cinderella was in production in the late ‘40’s, even action sequences were no longer timed to music (Barrier, Hollywood 399). However, musical beats remained an integral part of cartoon timing at studios like Warner Bros. and MGM.

5 comments:

Disney developed a new tool for use with exposure sheets called bar sheets. These sheets were essentially musical manuscript paper. One musical staff would include the score and a parallel staff would include the action. Bar sheets took up less space than exposure sheets because they didn’t need space for drawing numbers, camera information, etc. Once the action was plotted on a bar sheet relative to the musical score, the information would be transferred to exposure sheets that were sent to the animators.

This seems to not be ENTIRELY true: the bar sheet seems not to have started out with musical notation. I have not seen Steamboat Willie's bar sheets, but from the sheets I have I can conclude this: the director would first do his rough timing on letter-size sheets like this example from Trader Mickey. Then, he-or later the assistant director-would elaborate on this like in this example from The Pointer. The info in the bars would be copied into the action colums of the animators' exposure sheets. Only after extensive revisions and a lot of sweatboxing would they end up with a final picture, and it was at this point that the bar sheets would be copied onto musical paper, and the composer would write his score.

This procedure was misunderstood at Harman-Ising, where they wrote the barsheet and had the score written and recorded immediately, like on the example you use, without the immense benefit of revisions. This inflexible way of working made a world of difference in the "quality of the timing" of their pictures...

Thanks for this information, Hans. Am I correct in assuming that even with revisions, the timing was still in place before the animators started work? Or was timing revised based on animator suggestions and additions?

It's interesting that Harman-Ising didn't leave room for changes, because that is essentially how the later Warner directors worked. Chuck Jones, et al, didn't record the track prior to animation so far as I know, but tempos were chosen in advance of animation and then Carl Stalling could record to a click track with confidence that the animation would sync up.

After the animation started, a lot of things were revised. Bars were added, others removed, based on the "result" of the animation. The director could say "we'd like to see that pose more clearly - add a beat." Most often a single beat was added, like if you have a 2-12 beat (24 frame measures), some of the time adding a single beat would mean a 3-12 (36 frame measure). The musician would normally just have the 12 beat going, so this change would basically be transparant. Only after the timing was set. e.g. the animation was done, would the score be ready for final scoring, though I guess that the musician was already involved earlier. They didn't call the director's room the Music Room for nothing. The musician may have even been suggesting things at the very earliest stage in the timing, but the scoring came when all was set, AFTER the animation was done.

I'm a complete ignorant and I'm only beginning to learn about animation, only for pleasure.What about musical pieces existing before the feature, as in Fantasia?Are they modificated according the animation?

I know that Beethoven's Pastorale was made shorter for Fantasia, but I'm guessing that it was done at the story stage, not the animation stage. I'm sure by now Disney would have released the extra scenes if they had them. The only extra scenes from the Pastorale that exist are with the black centaurette.

So far as I know, the rest of Fantasia's musical track wasn't altered.

About Me

I've worked as an animator, writer, producer and director in TV animation for 29 years. I created the cgi series Monster By Mistake.
I hold a Masters degree from York University in Cinema and Media Studies and am currently teaching animation at Sheridan College.
I can be contacted at mark(dot)mayerson(at)sheridanc(dot)on(dot)ca.